Pulled Thread Whitework Class

 I have just constructed this bag from Carol Stacey's Whitework Pulled Thread class that I attended at the Guild over the last two Sundays.  I had selected a piece of green silk as lining, but it proved to be a bit short, so I used some rayon lining fabric I had been given by a dressmaker years ago. 

It was a lovely design - really elegant, with a lot of variety in both stitches and thread. I do like pulled thread work.

I chose to trace the pattern on to the linen using a pencil, which was probably a mistake. The lead was intrusive under the white thread. Although it washed out easily, it was a bit unpleasant to look at. I didn't, however, want to use my usual fine permanent marker with the white thread and chalk tends to wear off too quickly.

While the class was a really pleasant way to spend a couple of Sundays and I enjoyed the company, I found it very hard on both my back and my eyes. I used a seated hoop in order to have both hands free and to be able to bring the work up fairly close but even so, the work needs to be so close that I found myself having to bend my back while seated in the chairs in the Gallery at the Guild. 

After the first Sunday, when I stitched for several hours straight, I went home with a very sore back and blurry eyes. At home, after a rest, I was able to get myself to a position where I could work on  it with a straight back, so I did as much of the work as I could at home, leaving only one leaf to finish the next Sunday. 

This worked well for me. I took breaks to stretch my back and rest my eyes, and left after lunch, with the work almost finished.

I blocked the finished piece to get rid of any remaining pencil. 

                                       

I constructed the bag very simply by backing the linen completely with the lining fabric, creating a gusset for the cord and stitching the whole piece together with a seam down the back. 

The twisted cord took a while, as I couldn't find my cord maker, and did it by hand. Of course, I found the cord maker an hour later!

Two tassels finished it off.

I'm delighted with the result and the bag will no doubt hold some jewellery, or a gift, or, more likely, the makings of another project!

BATB: Jenny Adin Christie, Whitework Buttons

I chose Jenny Adin Christie's Whitework Button class at BATB because I had purchased the kit for her 5 buttons at the last BATB two years ago. I had enrolled in her one-day class, chosen the simplest button and completed it in the day. The kit has been sitting in a drawer for two years, so I decided I should enrol again and at least complete one more button.
Jenny is a great teacher, and a class with her is a pleasure.

This time I chose what seemed to me the most complex of the buttons, the Scabiosa. It is quite large and involves shadow work, padded satin stitch, cut work, beading, French knots and a range of eyelet work. It is worked on French gauze mounted over fine linen - prepared in advance by Jenny as part of the kit.

The shadow backstitch/herringbone is worked first and then the inner eyelet circle and the padded satin stitch. The latter was for me the tricky part. - getting the satin stitch smooth. Jenny had several tips about this, which really helped.  The great advantage of working with a teacher is the very specific technique help and practice.

I made quite a lot of progress in the class - both in terms of improving my technique and in the amount I was able to do.

As I had expected in choosing this particular button, I did not finish it in class but Jenny had provided instruction in all components.









After the class I set myself to finish this button as a priority. As usual, I had only enrolled in two classes at BATB - what I can realistically take on and finish. The whitework button took me a week of working on not much else and was really enjoyable.

The outer ring of ladder stitch eyelets gave me trouble. I did not succeed in making the holes distinct enough. I need more practice in this technique.









Once again, I decided to turn the button into a brooch, rather than display it in a box, so, after backing and lacing, mounted it on the felt backing provided.

I now have two of the five buttons in the kit completed. I regard these as practice pieces rather than perfection (which is just as well!)  I am in it for the learning.

Having tackled this large and complex button, I feel more confident to proceed with the others without counting on Jenny to return to BATB three times over the next six years to finish the kit!

Now I can turn my mind to Japanese beading again.

BATB 2014: Whitework buttons with Jenny Adin-Christie

I enrolled in two classes in this year's Beating Around the Bush. This is the third one I have now attended, and each time I have enrolled in two, rather than three classes. Each time I have taken a one day class and a two day class. This way I have some hope of finishing the projects I enrol in. Less stress for me, more learning. My one day project this year was making an Ayrshire Button in Jenny Adin-Christie's Whitework button class.

photo courtesy Inspirations Facebook page

I chose this class because the techniques appealed to me, the projects were small and I could see a use for them.

Jenny offered five buttons to work on. Of course, I ordered the kits for all five. This sounds contradictory in light of my finishing goal - but the goal relates to learning as well as finishing.  I'd rather learn one thing thoroughly, get something to show for the class, then work more on it over time

Jenny worked hard. There were four different buttons being worked in the class. She used a nifty device to project what her hands were doing on to a screen - very efficient.

The Ayrshire button was the one most likely to be finished in class. The kit contained the linen already mounted on cotton - really good preparation by Jenny.

The Ayrshire button began with a large eyelet and progressed to needle-lace inset,

Jenny did a remarkable job of keeping tabs on what we were all doing, diagnosing, correcting and staying ahead of the game.


We got to do a bit of sanding to shape the backing disc.

We used curved needles to add the beads around the edge.





I was a bit too keen to remove my blue markers - ending up with a damp button to stitch the ric-rac on to - making it a more difficult that it needed to be.

I got there, however, before the class finished. I ended up adding an extra bead in order to align the bumps in the ric-rac.

Rather than mount my button for display, I chose the brooch option, and mounted the backing as soon as I got home and the button was completely dry.
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I'm really pleased with the result, as well as the learning, the company and the camaraderie.

Each of the other four buttons will take a couple of days to make - but will make interesting and manageable projects - and great gifts.

I might take up one of the embroiderer's guild stitching evenings and work on each of the buttons in turn.